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Rating:
For all those who loved the elegant atmospheres of the so-called English sophisti-pop, Everything But The Girl was an essential name, and this The Language of Life from 1990 sits at the pinnacle of their “new cool” period (there would later be a “dance” turn, but that’s another story).
The fifth studio album confirms the approach of the previous ones regarding the combination of Tracey Thorn's enchanting voice and Ben Watt's melodic writing, with the important innovation of the "American" production by Tommy LiPuma. A seasoned veteran of the most noble fusion, LiPuma incorporates some precious collaborations such as bassist John Patitucci or drummer Omar Hakim and then Michael Landau (electric guitar) and Joe Sample (ex-Crusaders; on piano on the title track); Russell Ferrante (ex-Yellowjackets; again on piano for “Meet Me In The Morning” and “Take Me”) and the two jazz tenor saxophonist gems Michael Brecker (“Driving” and “Letting Love Go”) and Stan Getz, who splendidly finishes off the album on the concluding “The Road.”
The classic EBTG sounds are then enriched with fascinating jazzy nuances intertwined with the romantically melancholic lyrics of Ben Watt (best piece “Driving”) or subtly sharp when Tracey takes up the pen.
There are only three songs penned by her, but from this perspective, they are also the most interesting, all with a touch of female self-awareness that was truly unusual for those years. Take “Meet Me In The Morning”: “I haven’t come to be a stranger / I haven’t come to break your home / I haven’t come to harm your children / I’ve come to be your love.” Similarly, in the title track: “Cause you never learned to speak the language of life / And here you are a grown man who can’t talk to his wife / And the children you just don’t understand,” or in the sarcastic “Me and Bobby D” referring to Bob Dylan: “Tell me, is it true that you beat your wife?” All this always with her soothing voice and without ever sounding like she's giving us a sermon on male incommunicability!
And then there’s a cover from Womack & Womack (“Take Me”) where – by comparing EBTG’s subtly erotic version with the innocuous original ditty – one better appreciates the concept of sophisti-pop I mentioned at the beginning.
Final note for the graphic part, truly impeccable: well-designed, complete with all the lyrics and discographic information, and enriched on the cover by a very “fashionable” shot by Nick Knight, already a fashion shooting star back then.
In conclusion: an excellent album
Tracklist Lyrics Samples and Videos
01 Driving (03:59)
Oh loverboy To you I belong
But maybe one day you'll wake
and you'll find me gone
But loverboy
If you call me home
I'll come driving
I'll come driving fast as wheels can turn
Oh loverboy I know you too well
and all of my lonely secrets
To you I tell
The highest of highs
The lowest of lows
I'll come driving
I'll come driving fast as wheels can turn
Stretching away as far as my eyes can see
Deserts and darkness, my hand on the wheel
loverboy, please call me home
A girl can get lonely out here on the road
You see Some days I find the old ways
Frighten me too easily
I leave my key and say "I'm too young"
But loverboy
If you call me home
I'll come driving fast as wheels can turn
04 Me and Bobby D (04:09)
Me and Bobby D don't get along that easily.
You told the world, "Be free, love life".
Tell me, is it true you beat your wife?
You see, me and Bobby D don't get along that easily.
You told the world, "Skip rules fave fun".
Knocked her from here to kingdom come?
How many girls have you had today?
And how many bottles have you downed today?
And while you're on the skids, who's minding the kids?
Go to sleep Bobby D, here's a kiss,
don't worry your pretty head about this.
Me and Saint Jack K never had too much to say.
It's easy driving with your feet,
with some good ol' girl in the passenger seat
watching the road all day,
"Oh honey, what funny things you do say."
But while you're out of your head
who's making the bed?
Go to sleep Bobby D, here's a kiss,
don't worry your pretty head about this.
Go to sleep Saint Jack K,
don't worry your tiny head today
Me and old Bobby D don't get along that famously
A saviour and a seer? Maybe,
but he never meant that much to me.
Sure, I'd love a wild life,
but every wild man needs a mother or wife.
The seven seas you roam
and who's waiting at home?
07 Imagining America (04:59)
Oh, and how he loved you
Oh, and how he loved you
Oh, and you believed him
Oh, and you believed him
You said you both deserve better
You both deserve better
Could make it a real thing
Could make it a real thing
On a clear day
You can see the sea from your place
On a fine day
You can still remember his face
He just kept right on...
Imagining America
He just kept right on...
Imagining America
And he was so handsome
He was so handsome
It was 1919
It was 1919
Sailing to New York
Sailing to New York
Just for you
Just for you
It was a clear day
Waiting from the quay, saw him
Was a fine day
Standing with the world before him
He just kept right on...
Imagining America
He just kept right on...
Imagining America
Don't he have no feelings...
always feel like mountains
and deserts and stars
Cities have been tamed
and they all know your name
They have money
and houses and cars
(sax solo)
So I stand here
So I stand here
In his footsteps
In his footsteps
We deserve better
We deserve better
And I can make it a real thing
And I can make it a real thing
It's a clear day
It's a clear day
Only in a final embrace
Only in a final embrace
It's a fine day
It's a fine day
The world remember our face...
The world remember our face...
And I just kept right on...
Imagining America
And I just kept right on...
Imagining America
We keep on, we keep
Imagining America, America
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Other reviews
By alcol2
The album is a continuous crossing of citations from the best of American 'all time' cultured music.
Tracey’s voice seems to melt, an inimitable instrument of a superb orchestra.
